2014年7月7日 星期一

Huai Mo Village

作品名稱:《回莫村》
呈現方式:單頻道錄像裝置
時間:8分20秒
創作年代:2012年

作品簡介:
許家維的錄影和裝置構建起關於亞洲地理、歷史與文化領域的敏感視覺敘事,在密集而複雜的多重文化與歷史中,藝術家揭示了現代人的生活是如何被根本轉變的。

《回莫村》講述的是泰緬邊境被遺棄的軍隊所面臨的多重文化的交錯,以及不被認可的尷尬身份。生活在歷史幽魂中的人們,最終產生的是常人所不具有的歧義性。許家維此次創作計劃關注於泰國清萊回莫村的自強孤兒院,這些孤兒的產生與這個地區複雜的歷史有緊密的關係。1949年國共內戰開打,國民黨戰敗後原屬國民黨政府的正規軍由雲南撤退至緬甸,原20多萬人員抵達緬甸時僅存2000餘人員。緬甸於1953年與蘇聯在聯合國控告這支部隊「入侵」,聯合國便經由泰國同意,安排這支部隊來到泰緬邊境的金三角與清萊美斯樂。在國際的壓力下,蔣介石指示這支部隊撤回台灣,但事實上則是「明撤暗留」;表面上這支部隊已解散,但私底下仍然保持戰備狀態以圖反攻。由於孤軍多數都是雲南人,思鄉情濃,依然遵照「明撤暗留」指令。不同的是這一次形同向國際宣告,「當地軍人」不再有任何行動,以後與中華民國政府無關。
1970年這支孤軍因生存需要,應泰國軍方要求,出面協助遠征泰共以換取居留權,並確定了孤軍在泰北以傭軍形式長久駐留的必要性。爾後還參與了1978年與緬共的戰役及1981年與苗共的戰役。這段期間,許多人也開始種起滿山的罌粟花,並協助毒梟從緬甸運送毒品以改善生計,在過去這裡的毒品的產量佔全球產量的80%,成為世界毒品中心。目前於回莫村自強孤兒院中有68位孩童,他們的父母多是因毒品交易被判死刑或因毒品糾紛而喪命。
曾經是情報員的片中主角孤兒院院長,他的身份點出了歷史的源頭及變化的過程。藝術家慣有的拍攝手法在本作品中仍在延續。從講故事的人、聽故事的人、到由孤兒們組成的拍攝團隊,藝術家站在更為後方的位置,觀察著這一切。

Title: Huai Mo Village
Presentation: one-channel video installation
Total running time: 8 minutes and 20 seconds
Year: 2012

Description:
Hsu Chia Wei creates videos and installations to build sensitive visual narratives about geographical, historical and cultural regions in Asia. The artist reveals how the lives of people in the modern age are fundamentally transformed by the dense and complex layers of cultures and histories.
Huei-Mo Village relates the story of remnant troops on the border regions of Thailand and Burma who face the intersection of multiple cultural identities and an unrecognised identity. People who live under the spectre of history end up producing an ambiguity absent in ordinary people. HSU Chia Wei’s latest project focuses on the Huai Mo Tzu Chiang House in Chiang Rai, Thailand, which shelters a generation of orphans owning close relationships to the region’s complex history. In 1949, the Chinese civil war broke out. The defeat of the KMT resulted in the perilous retreat of an army, originally belonging to the Nationalist government, from Yunnan to Myanmar, with only 2,000 among 20 million soldiers reaching the destination in the end. 

However, Myanmar and the Soviet Union accused the troop for having “invaded” their territory, whereupon the United Nations later on arranged for the troop to settle at the Golden Triangle at the Thai-Myanmar border and Chiang Rai, Mae Salong by making a pact with the Thai government. Due to pressure from the United Nations, Chiang Kai-shek instructed the troop to retreat to Taiwan, but in truth ordered them to Retreat on the surface, but factually remain undercover. In semblance, the troop seemed to have disbanded, but in secret they remained in a state of combat preparing for their counterattack. The Lost Army consisted mainly of soldiers from Yunnan, yet obeyed their given commands and stayed despite their longing for home. Their actions, however, were like declarations to the world that the “local soldiers” will no longer intervene, and have severed all ties with the government of the Republic of China.
In 1970, in order to sustain themselves in foreign lands and to exchange for the right to abode, the lost troop answered the request of the Thai military in assisting their expedition against the Thai communists, which then determined their prolonged stay as mercenaries in northern Thailand. Later on, they were also involved in battles against Burma communists in 1978 and Miao communists in 1981. During this period, many people grew poppies to increase their incomes for a better domestic life, or assisted drug dealers to traffc drugs from Myanmar. The drug production in this region used to account for 80% of the global supply, determining its status as the international drug trade center at the time. The orphanage at Huai Mo Village houses 68 children; most of their parents were sentenced to death for drug trade or had died during drug-related disputes.
In the video, the director of the orphanage (who was once an intelligence officer) points out the historical origins and changes. The artist’s customary style is extended in this work—the people telling the stories, the people hearing the stories, the crew made up of orphans, with the artist standing furthest back, observing it all.









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